• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.2
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• pp.58-68
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• 1999

This study was carried out to verify the distribution patterns of Salix gracilistyla and Phragmites japonica communities known as obligatory riparian species according to physical factors such as micro-landforms, substrates, etc., at Soo-ip stream corridor. Firstly four vegetation types - Salix gracilistyla dominant type, Phragmites japonica dominant type, mixed type of two species, and mixed type of two species to other species, were classified by cluster analysis based on UPGMA-Euclidean distance. Also these vegetation types showed many different distribution patterns in response to the longitudinal and lateral view along the stream corridor and substrate composition. Salix gracilistyla was major component of dominant vegetation types developed at attack point of bending reach and on substrates composed of rock fragments, but contrastly Phragmites japonica was most important component of dominant vegetation types at point bar of bending reach and floodplain, and on substrates composed of soil materials. Secondly the species and environment biplot form CCA strongly supported the vegetation types divided by classification. Namely Salix gracilistyla was closely correlated with rock fragments and steep slope, which is resistant to physical action even though located near running water. But Phragmites japonica showed a high correlation with soil particles sedimented at floodplain by divergent flow.

• Journal of Wetlands Research
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• v.15 no.3
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• pp.301-315
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• 2013

The purpose of this study is to investigate characteristics of hydromorpological structures that affect landscape preference and visual characteristics on the sections of the designated streams where have dynamic ecological characteristics. We evaluated the ecological status of the streams utilizing LAWA to assess hydromorpological structures of streams. We also investigated preference and visual characteristics of stream landscapes through Semantic Differential Scale(SD scale). The differences of visual images according to the characteristics of hydromorpological structures in the sites were analyzed by descriptive statistics, One-way ANOVA, and t-test. As a result, this study showed that sections represented as "good" ecological status are shown to be harmonious, beautiful, natural, and clean comparing to sections represented as "poor" ecological status. The hydromorpological structures that have significant impacts on the visual characteristics are considered as riparian vegetation, cross-sectional shape, and the artificial structures. Results of this study can help guide the stream restoration of the damaged stream to improving ecological function and positive landscape.

• Journal of Wetlands Research
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• v.11 no.1
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• pp.65-73
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• 2009

We investigated characteristics of channel morphology, flora and vegetation distribution at the main and the abandoned channels of the Hwangguji Stream and the Cheongmi Stream. The analysis of aerial photographs and old topographical maps showed that the abandoned channels were made by cut-off from the main channel due to the construction of artificial levee. The total number of species and percentage of exotic plants at the main channels were higher than those at the abandoned channels. At the abandoned channel, the percentage of species number of hydrophytes and hygrophytes was higher than those at the main channels in the both stream. The results of principal component analysis (PCA) showed that the floral structure between at the main and the abandoned channel was more similar in the Hwangguji Stream than that in the Cheongmi Stream. The relative distribution areas of hydrophytes and hygrophytes at two abandoned channels were much higher than those at the main channels in the both stream. The dominant plant was an emergent macrophyte, Zizania latifolia at two abandoned channels. Therefore, flora and vegetation at the abandoned channel showed more hydric and lentic characteristics and provided diversity on the landscape level.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.36-45
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• 2022

This study examines the historical transition process of Hwanseonjeong Pavilion in Suncheon, identifies the landscape of the original Hwanseonjeong Pavilion in the past and its constituent elements, and compares it with the landscape of the present Hwanseonjeong Pavilion at Jukdobong area. It was intended to identify the problems and draw implications for future restoration of Hwanseonjeong Pavilion. Hwanseonjeong pavilion, the subject of this study, was built in 1543 by Tong-won Shim, the governor of Seungpyeong, as a garden architecture for government. Since then, it has been renovated several times, and as a pavilion representing "Seonhyang(immotal world)" Suncheon in the past, it was located along with an artificially created lake and other elements of the garden at a location where can be seen Dongcheon stream and Jukdobong Peak on the opposite side at a glance. Hwanseonjeong pavilion, which had been safely maintained during the Japanese colonial period, was lost on August 28, 1968 due to a major flood in Suncheon. The difference between Hwanseonjeong Pavilion and other lost is that another Hwanseonjeong Pavilion for the role of archery was built on Jukdobong Peak in 1935, before it was destroyed. The restoration case of Hwanseonjeong pavilion provides the following important implications for the restoration of pavilions as a garden architecture: First, the value of a pavilion is not formed from the building itself, but from the relationship with the surrounding landscape. Therefore, restoration of a pavilion should not be approached in the same way as restoration of buildings. Restoration of a pavilion requires efforts to understand the existing landscape value and to restore landscape elements together with buildings. Second, an artificially created long north-south lake along with Hwanseonjeong pavilion was a very important landscape component and a means of providing a way to enjoy the landscape. For restoration in the cultural context of Hwanseonjeong pavilion, efforts are also required to restore not only the architecture, but also the experience of cultural activities through an integrated examination and restoration based on an understanding of the cultural activities performed in Hwanseonjeong Pavilion. Third, compared to the past original Hwanseonjeong Pavilion, the existing Hwanseonjeong Pavilion shows a different shape, composition, scale, color, etc. In terms of the restoration of buildings, it is thought that restoration will be possible only when restoration is done through more accurate historical evidence, research, and investigation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.98-104
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• 2010

The objective of this study was to understand the origin and characteristics of stone tower's style through the study of the 'Village Shrine at Seoji-ri, Andong'. The three kinds of stone towers were located forming a line of 9m on the hill of a red pine forest along the stream in the village. Toward the direction looking at the village, the three-story stone located on left, the two-story stone located in the middle, and the common style stone tower located on right. The bottom part of the three-story stone was 2.5m in length, 1.8m in width, 1.3m in height. The bottom part of the two-story stone was 1.3m in length, 1.5m in width, 0.9m in height. The common style stone heap tower was 3.0m in diameter, 1.8m in height with a cone shape. The small hat-shaped stone was presumed to be the top part of a three-story stone. According to the three factors(heaven, earth, human) of the idea of the universe in Korea, most ancient remains have components of odd numbers. Then it had been substituted with smaller three-story stone(at present, two-story stone). And then altered to a common stone tower later, such as the 'Village Shrine at Seoji-ri, Andong' that shows the combination of the Bronze Age's megalithic and a folk religion. The 'Village Shrine at Seoji-ri, Andong' is a valuable relic that shows the stone towers, and is derived from the Bronze Age. The 'Village Shrine at Seoji-ri, Andong' shows that the 'Village Shrine at Seoji-ri, Andong' was embodied the three-factor(heaven, earth, human) idea of the universe in three-story stone of megalithic culture' remains.